Mine is a constant reflection on the mystery of the creative process and on the artist as a medium. I use a tool that is matter; mostly paper, cellotex, sand and plaster, as well as natural elements such as branches, algae and stones. I often use frottage to construct symbolic signs of the spoken language, a language that is not necessarily from our past but rather from an “elsewhere from here”, an unknown and mysterious place that is partially revealed through signs emerging from the depths to the surface. Signs being formed at the edge of reality and ready to dematerialise like dreams, if not promptly and gently captured by the work. In parallel the matter itself has its own linguistic code, revealing and strengthening the message. Thus the paper will speak with its own transparency, the sand with its abrasiveness and the cellotex with its own characteristics (its textures).
The meeting between these two orders of reality subsumes in artworks that succeed in reaching a unique character.
The matter becomes the ecco, the support and the amplifier of the underlying sign that pushes its way to the surface from the “other” place. The “voice” is a silent song that questions and calls without ever holding back. As an artist, I choose to listen to it, beyond the the noise, where the waves land in the mystery of silence.
I explore the fragility, the transience, what is hidden in the folds of reality and risks not being found. My attention is “called” by what cannot be heard.
For this reason I often choose paper; it expresses these concepts better than any other medium. It has the transparency, the fragility, the lightness and the ductility necessary to bring to reality the sign that has emerged from the depths and now lies stranded on my beach, leaving me the responsibility for it’s welcoming.
Caterina, June 2018

Works

2020

MOSAIC
2018/2019

Caterina Ciuffetelli torna alla Galleria Forzani con la sua ultima personale “Ordine Imperfetto”; una selezione accurata di lavori che dal 2017 inquadrano bene la sua ultima produzione.

C’è una questione eternamente aperta che infesta le menti di scienziati e artisti allo stesso modo, imperscrutabile quanto ammaliante risulta logorante per costituzione, il tempo. Acquistando quasi valore economico il tempo si spende ma mai riesce ad essere valutato o barattato in nessun modo.

LANDSCAPE
2017/2018

DIAGRAM
2017/2018

PRE-HISTORIC
2017

Con disinvoltura attraverso sapienti impronte stratigrafiche, Caterina Ciuffetelli dialoga con l’osservatore in un percorso narrativo tra pittura e suggestione letteraria. Sistematiche contaminazioni di generi e linguaggi diversi, (frottage, monotipi) conducono ad esiti formali interessanti, articolano un viaggio per inediti percorsi.

Langage 17 - 2008 - sabbia e intonaco su cellotex - cm 50x50

LANGAGE
2008/2009

Nelle opere della serie Langage di Caterina Ciuffetelli è proprio il senso essenziale della sacralità del linguaggio ad avanzare verso lo spettatore, con tutta l’immediatezza dell’impressione visiva.

Caterina Ciuffetelli - Half wheel - 2003 - acrilico e vinilica su cellotex - cm 50x70

WAVE
2003

Che cosa resta della lezione impartita dall’arte astratta? E’ ancora attuale il tentativo – come direbbe Léon Gischia – di “sostituire al reale imitato un reale immaginario”? Non solo: si può continuare a parlare di originalità…? Sono domande ricorrenti da quando la pittura dell’ultimo decennio ha imboccato la strada del realismo o dell’iperrealismo.

Caterina

In 1988 Caterina Ciuffetelli began her “poetry of line”: a work in progress in which signs – small or big, curvy, broken, gouged or lightly etched, in relief, all rendered shifting by the light – are what characterise her way of representing herself and the world in abstract forms. These signs impose themselves on the material of the background, and themselves become a part of this material, bestowing form to a language that has matured through an almost archaeological exploration of residual essences. The artist also traces signs on cellotex, a substance that is linked to the natural essence of wood. Her choice of material is indeed an integral part of her work and is the result of her need to return to the origins of her evolution as a painter and to the origins of existence. She uses material as a support on which to paint or to leave expressive traces even leaving it, in part, in its natural state so that it can be appreciated simply as material.

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